Sometimes, I get all “Midnight in Paris” and wish I was making movies back in the 1990s when indie filmmakers could actually make a decent living. Or if time travel was affordable, safe and legal, maybe I’d wander back and shoot character-driven films on 35mm film back in the 1970s. Or perhaps direct silent films in the early 1920s before burdensome sound equipment and studio executives with provincial taste.

But, you know, it’s Thanksgiving and I’m in 2014 Los Angeles where we develop our spiritual practice and live in the moment and all. So here’s my shot to articulate the top ten things that indie filmmakers should be grateful for right here, right now.

1. Laptops – Can you imagine how boring it was to write screenplays at home or in the office on a personal computer (or even more cumbersome, a typewriter…)? Lame. That’s right motherf$#$ker, I am sipping a latte with my sunglasses on while writing this synopsis at Intelligentsia. In the 90s, if you wanted to go out for coffee, you were taking paper and retyping that shit later. Or your ass was at home, bored and decaffeinated.

2. Better actors – Yeah, yeah, yeah, there were some amazing actors in the 1930s. There were also some pretty arch, fake-ass performers back then, too. So let’s break it down – for the most part, actors are much better trained now than they were in the past. There’s so much more competition in the field of acting that actors have been forced to improve to continue to book jobs. Even big stars have the humility to coach with svengali’s in our field, oftentimes with good results. And it’s not just the stars who are talented, dedicated and skilled. Working actors across the board have gotten better to the point that I think it’s pretty rare that you see a laughably bad performance in a major film, which used to happen with more regularity. Before people blow up leaving comments refuting this, EXCEPTIONS EXIST. But most of the times when I see a bad performance these days, I blame the director. Either he/she doesn’t know how to get a performance out of an actor or has incredibly bad taste to either choose a bad actor or choose a bad take from a good actor. I also believe that – per capita – there are more good looking actors now than in the past. Admittedly, this is not a scientific study, but it seems like it. A lot more six-pack abs, etc.

3. Google – Imagine the wealth of information available to you that filmmakers in the 1950s had to learn by trial and error, by finding a mentor, by moving to Los Angeles or New York and hearing what was going on in the business. Everything from writing tips to video content to technology how-to’s to film theory to primers on the film festival circuit is far more accessible than it was to previous generations who minimally had to get to a bookstore, local cinema or library (now the problem becomes sorting through too much information but that’s a topic for another day). If you want to learn about filmmaking, there’s really no financial or access-based excuse not to make progress.

4. Come on, you really CAN make a feature film for less than $200,000 – Making a film is a huge undertaking that can take years and the work of dozens of people. I realize that making a quality film is never inexpensive in terms of resources or time. But, in this era, digital cameras and online editing technology make it possible to make a feature film for less than $200,000. Most Americans still believe they can earn enough money to buy a condo, townhouse or home, many of which are valued at far greater than $200,000. So instead of a home, if you’re willing to work and save, you can put your money towards a movie. When films shot on 35mm and had to go through a telecine process and then spit out prints, those numbers were a lot higher.

5. There’s an app for that – Scheduling used to be done by cutting little strips of paper and arranging them on a board. Ledgers were once used to track the complicated accounts created by the varied expenses involved in filmmaking. Polaroids were taken for continuity pictures. Wow, things have changed. Now there are programs that let you snap a picture with your smart phone and attach it to all the scenes in which it applies. You can enter in this same program how much the costume costs to rent and keep track of how many days and which days you’ll need it. All in the same program. That’s pretty incredible.

6. You don’t have to only make films about straight, white people – In the 1940s, if you wanted to create an interesting role for an ethnic or religious minority or someone in the LGBT community, good luck! Now, at least you have a chance to develop interesting characters from a much broader spectrum.

7. On-set selfies – Come on, you know you do it.

8. YOURNAMEHERE.com – It’ll probably cost you around the same amount of money to register YOURFILMNAMEHERE.com as it cost NBC to register NBC.com. And if you take some wordpress classes, I bet you can make your site look almost as good or even better. This is a huge competitive advantage for the “little guys” of filmmaking compared to the control over the means of distribution and promotion that the “big guys” had in the past.

9. Social media – so many people talk about how annoying it is and yet…so many people discover content they want to see through a tweet, post or blog article. And you don’t have to spend a fortune on it (although it helps if you do….).

10. Kombucha – maybe it existed before, but it’s only had its positive effects on sets all over Los Angeles in recent times.

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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

Sammy Kusler came on board the producing team of “Guys Reading Poems” the first time I pitched the project to him. He’s one of those unforgettable personalities on the set that knows when to say something spiritual to calm you down, but also knows when to just quietly slip a blended mocha frappucino in your hand and walk away. He was much beloved on our production and offers his experience and wisdom to other filmmakers on their journey.

Sammy Kusler with Florenca Perona (costumes) on the set of “Guys Reading Poems.”

Hunter: Sammy, a lot of our readers are prepping their first or second film, whether it’s a short or feature film. “Guys Reading Poems” was your first film working as a co-producer. What general advice can you give to folks starting out?

Sammy: If you have a dream, go for it. I don’t care how old you are, or how broke you are. I don’t care about your excuses –just allow yourself to follow your passion.

Hunter: You have an incredible talent for making people feel good. This is not to be underestimated as an important task on a set where people are working very hard and for long hours. What are some strategies that you had to make the cast and crew feel comfortable?

Sammy: Just basic understanding of human nature. We all want to be loved. We all perform better when we feel like we’re loved. The trick is to know the balance of giving and receiving love and just basically being honest with your emotions. If you have honest emotions, people aren’t afraid that you’re hiding something.

Hunter: What was something about the project that was harder than expected and what was easier than expected?

Sammy: I definitely expected there to be more competition and more stress between people but I found the team that we had was so giving and caring. There was just this great flow between the actors, the crew, the production team. I didn’t expect it to be so easy and wonderful. What was harder than expected…the grueling hours, very long hours. The hours really took a bigger toll than I expected.

Hunter: Food is a big part of your life. You’re such an incredible chef – you often cook for your friends – and you brought that same sense of caring about the food to craft services on the film. It’s such an important area of the set. Any tips for producing teams on how to keep the cast and crew happy with regards to food?

Sammy: Armies move on their stomachs. That’s it. I think that’s basic. The happy time during “Guys Reading Poems” was around the craft services table. That’s where people went to relieve stress and there was good, healthy stuff to help them relieve it.

Hunter: I hope this doesn’t sound too hokey, but you have a shamanistic thing going, too. I remember standing at the dining room table with Patricia [Velasquez] and you pulled out that original Frida Kahlo pendant. I remember in that moment feeling like you were one of the spiritual guides to the film and Patricia just fell in love with you. Do you think there’s some kind of spirituality that comes with making a film? Or am I off-base?

Sammy: What I’ll call it is a deep connection to spirituality. Everything in my life is connected to some deeper pool of spirituality that we all share. It’s all connected. We’re all connected. That’s what I’ve learned, anyway. And it pours out in all kinds of ways, in all kinds of magic moments. That piece of jewelry is one of the greatest treasures of my life because I was born the minute that Frida Kahlo died so it is to me like a talisman to this intense spirit world that I don’t understand…but I feel it.

An original piece of jewelry by Frida Kahlo.

Hunter: What made you pull it out and show it to Patricia and myself? Since she plays a successful artist in the film, I thought it was just the right thing to do.

Sammy: I didn’t make a decision to do anything at that moment. It was just the next right thing to do. When you listen and you’re connected to the spiritual world like that, things like just happen and magic just appears. [He laughs]. I hope that’s not too corny, but we’re allowed to be corny.

Hunter: Filmmaking is a multi-generational operation. We had some very young people on set from Luke Judy, who is 7, to Blake Sheldon, who was 21 when we started. And Debbie Vandermeulen’s mother showed up to be an extra and I believe she’s 90 or 91. I found that to be very refreshing about our set. Can you talk about that a little?

Sammy: I grew up in a tribal situation, a tribal society and old people were not to be thrown away. They were to be listened to and their stories are what guided our lives. They weren’t some old creepy thing that you bring a present to on Christmas or whatever. They were really our guides. That’s how I feel about older people. And younger people – they are a window to our innocence. Nature combines us and society separates us so it was a natural flow that brought us together on set.

Hunter: I love that you did not allow what some might consider to be “a later start” to deter you from diving into filmmaking. What would you say to others who might want to start at 40, 50, 60, even 70?

Sammy: The cliché is true in this case – just do it! If it comes out, let it happen. Cut through the but’s – ‘but, but, but’ – and the what if’s. If you have a passion, follow it.

Hunter: You’ve seen me in action making a film, warts and all. What could I do better? Or what advice would you give me for “Inside-Out, Outside-In” after observing the process for “Guys Reading Poems”?

Sammy: Don’t overdo it. Delegate.

Hunter: What has been your happiest memory associated with “Guys Reading Poems” so far?

Sammy: My happiest memories are just watching the actors go from being the actor to being the character and that process. Some of them stayed in character the whole time. Some of them dropped the character the minute they walked off the set. And just working with the people on the team – the producers, the director, the crew, the extras. Just the people. It was such a joyous collection.

Sammy Kusler as “Moses” with star Blake Sheldon the last day of our shoot – fun is important on a movie set!

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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

Bradley Bernstein is not just a dear friend and my manager (through his company Fast Track Management). He’s been nominated for a Tony award and won an Olivier award for producing theatre and has a lot of experience producing television programming here in Los Angeles. When I told Bradley about “Guys Reading Poems” and our idea to transform its original concept from a new media piece to a feature film and how we were in over our heads, Bradley GENEROUSLY stepped on board to help – as our line producer. He worked tirelessly and went WAY beyond the call of duty. We couldn’t have done it without him. Here’s what he had to say about his function on our film. Some of his tips will doubtless save you time, money and headaches.

Hunter: So Bradley, you did a fantastic job line producing “Guys Reading Poems.” Thank you. I’m trying now to make sure I learn as much as possible as we prep the second feature. So looking back at “Guys Reading Poems” from a line producing perspective, what would you say was harder than anticipated and what would you say was easier than anticipated?

Bradley: Thank you, Hunter. I would say it was a bit more difficult merging the new media project that was filmed a year earlier with the ultra low budget shoot.* I think because no one really had any experience with that type of merger we just had to figure it out as we went. I think the wardrobe ended up being easier for me than I anticipated. We had a LOT of costumes considering our budget. I mean a lot of costumes. But our wardrobe department really came through and I did not feel the pressure at the end of the day that I thought I was going to feel.

Hunter: We spent a good chunk of our budget on soundstage rental. A lot of low budget indies shoot on location, so this was a big decision for us. From your perspective, was it worth it? Do you think indie films should consider soundstages even if it sounds like sticker shock at first?

A photo of TTS Studios, the soundstage where we shot “Guys Reading Poems”

Bradley: The soundstage approach was the perfect choice for us! In retrospect, I would have negotiated the deal for the stage a bit different but I would not have changed my mind about shooting at one. We saved so much money at the end of the day for our particular film. I think each project has its own needs so there are no specific rules in this regards. I would say keep an open mind.

Hunter: The SAG-AFTRA ULB contract allowed us to work with both union and non-union actors. Did this present any challenges? Any notes for other filmmaking teams here?

Bradley: This did not present any challenges in regards to the actors themselves. You do have to remember there are different types of paperwork to fill out. Educate yourself!!! Make sure you ask your SAG rep lots of questions!! A line producer has a lot of responsibilities and you don’t want to be wasting your time filling out paperwork multiple times because you used the wrong form!!!

Hunter: We had a number of scheduling challenges with GRP, especially with our child actor and all the regulations surrounding that. Do you have any general advice to other filmmakers regarding scheduling? Any advice specifically about scheduling with child actors?

Bradley: OK child actors LOL. This was the first film where I had the opportunity to work with a child actor. I have to say I was a bit nervous. There are a LOT of state rules and union rules! But don’t be scared!!! Everyone I worked with from the child

Luke Judy in “Guys Reading Poems” photo by Michael Marius Pessah

actor’s agent and manager to the on-set teacher were great. They were happy to walk me through the regulations. No one wants to see you violate and no one is there to take advantage. So don’t worry! You just need to understand the rules in advance so you can schedule your shoot appropriately. Kids need breaks on set differently than adults. Also, you need to watch them – make sure they are not getting tired. Yes, there are rules to protect them but you should protect them beyond the rules and account for that in your schedule. We had a 7 year old. He was GREAT. But if I saw him getting tired or a bit antsy I pulled him from set for a 20 minute leg stretch. Know that you will need to do this. It is good for the kid and good for the production. Also – have toys on set (ask the parents what their kid likes)!!!

Hunter: I noticed you switched from one budgeting software to a different program midway through the process. Can you tell us your preferred budgeting software and why? Any tips on using this sort of software?

Bradley: Yeah, this was a time killer. I am not sure I want to name the first software product we used. It was not one I was familiar with. We used it because it was the system my predecessor on the project had used so we felt it would be more efficient to stick with the same program. WRONG! It was buggy! I mean really buggy! Also, stick with what you know. What works for you! Movie Magic works for me!!! I like the program! I understand the program!!! If there is a better one out there, I am happy to take the time to learn it, but right now that is the one that works for me. Here is my tip. There are great online vids that teach you how to use the software. WATCH THEM! Also – Save, Save, Save your changes!!

Hunter: Oftentimes, you served as a liason between the department heads and rest of the producing team. Can you talk a little bit about working with people and the strategies of dealing with the various departments?

Bradley: In my opinion the line producer is the hub for all the department heads. As such, there should be a constant flow of communication between the line producer and all the departments. I like to make sure when in production I am visiting all the departments on a regular basis. Make sure all the heads and their entire staffs are happy. Even more than just being happy, I want to make sure everyone knows they can come to me with problems. I cannot fix something if I don’t know it is broken. There are a LOT of personalities on a film set. Most of the time people don’t know each other before coming to set. So there is potential to make new friends, but there is also the potential to not get along. I am not just running the budget on a show. I am making sure that the wheels and cogs of a set are running smoothly. So if people don’t get along, I need to know and be there to help!

Always stay calm! As a line producer, try never to take sides in disagreements! Listen to what everyone has to say. In the end, you have to decide not was is necessarily good for an individual, but what is good for the entire production. You will not always be popular, but you have a job to do – to make sure the production stays on budget and stays on schedule. Keeping that in mind, you accomplish this goal by continually checking in with your departments and making sure you are informed! You are not only judge, but you are jury and you have to take that very seriously! Most people think the director is the leader on a set but that is not entirely true. The director is the leader of the creative vision and with his/her team runs the set while the camera is rolling, etc. But the director is not running the action off the set and nor should he/she. Part of my job is to keep any/all problems away from the director (as much as I can) so he/she can stay focused on the creative vision of the film.

Hunter: To advise newer line producers, what one line item are they probably underestimating the most and what line item might they be overestimating?

Bradley: To new line producers: You are always underestimating your entire budget! (LOL) but apparently I am supposed to pick a single line item. Geez that is hard. I would say FOOD! Never every skimp on food! Feed the machine and the machine will work! I find that a lot of line producers overestimate how much they are going to pay on cameras/lightening/electrical. That just comes from experience.

Hunter: Some of our readers might be newer to dealing with agents and managers. Any tips on the courtesies or strategies involved in communicating with an actor’s team, especially if they are to be cc’d on information relevant to the line producer?

Bradley: Agents and managers are people too! Don’t be afraid of them! There is really not a lot of interaction between a line producer and a talent rep, to be honest. But on a smaller film, a line producer tends to handle a lot more, so I would not be surprised if you end up having to contact a rep. Just explain who you are and what you need. Most reps are more than happy to take care of you. If the rep asks you something outside of your area, just politely explain that it is not your purview and redirect them to the correct person. Never answer a question that you don’t know the answer to!

Hunter: What has been your happiest memory working on “Guys Reading Poems” so far?

Bradley: My happiest moment was the move in day at our sound stage. I love move in days! All our crew get to meet each other (if they have not already). We get to settle in to our areas (me included). It is like the first day of camp. Finding our way. I love producing film and tv shows. So the first day is the start of the adventure. The last day is the saddest. I want to be a far away from the sad day as possible. I also really enjoy the by myself time during the development process when I first start building a budget. That is my zen time!

Hunter and Bradley talk on a daily basis, occasionally order in pizza from Lucifer’s and are in the process of developing new material for both film and television, including Inside-Out, Outside-In.

*Editor’s note: Some footage was shot and originally registered as a new media project with SAG-AFTRA for “Guys Reading Poems.” We never released that footage because we decided to incorporate it into a larger piece – a feature film. We then obtained permission from SAG-AFTRA to change our contract from New Media to SAG ULB, but with that change caused some practical and paperwork challenges.

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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

When people find out that I recently directed a feature film, my L.A. acquaintances are quick to offer congratulations. Once those niceties are behind us, the curious hipster oftentimes takes a breath and asks (or wants to ask), “How did you pay for it?”

In the case of “Guys Reading Poems” we used a combination of private investors and crowdfunding to raise the funds needed to make the film.

But now that I’m back in the saddle to produce “Inside-Out, Outside-In,” I face the same question: How will we pay for it?

The way I see it, there are eight options for raising money for feature films. I’m sure there are more. But this is a start.

1. Private Equity Investors – Private equity investors are people who provide capital for a film in exchange for a percentage of ownership of the film or its profits.

Upside – Private investors are great because oftentimes you get more than just the capital. Because they’re motivated for you to win back a return on their investment, they often open up their rolodex and make introductions on your behalf that might be uber helpful to the film. This can lead to even more private investors or other relevant industry contacts. A lot of investors have tremendous business savvy to have achieved the sort of wealth needed for film investment and some of that business savvy might rub off on you.

Downside – It can take time to raise money from private individuals. It can be difficult to find the first investor to take the plunge as it is generally less risky to invest in a film the closer it is to being finished. Unlike crowdfunding, you are obligated to share the success of the film in a significant way with your investors (but hey, it’s only fair…).

2. Crowdfunding – Filmmakers use Kickstarter or IndieGogo or another site to pitch the projects to family, friends and fans, hoping for financial pledges in exchange for rewards related to the film or filmmakers.

Upside – With crowdfunding, you are not only winning backers, but rallying the front line of your fan base for your film. Although you must provide the rewards promised to your backers, the pledge amount is not money that will need to be paid back once the film starts generating income, a big advantage for your bottom line.

Downside – Take it from me, crowdfunding is a FULL-TIME job. For the weeks of your campaign, you will need to spend at least 40 hours a week working solely on the crowdfunding. Also, if you are too shy to ask people for money DIRECTLY (and yes, I mean making phone calls – personal emails don’t cut it much less just sharing on social media), it will be very difficult for you to crowdfund effectively. Filmmakers are now also facing crowdfunding fatigue as social media is flush with opportunities to back creative projects. You also need to budget to make sure you deliver the rewards promised.

More on the opportunities and challenges of crowdfunding in a future post…

3. Slated – Full disclosure, I have never used Slated.com to finance a film. BUT it’s the most interesting option emerging for the upcoming “Inside-Out, Outside-In.” So if I get any of the particulars wrong, forgive me and go check out their site yourselves. Basically, Slated is a curated community of investors, filmmakers and film professionals that facilitates introductions between parties. You build a portfolio showcasing your project and they go out and verify that you’re telling the truth! This is awesome because it prevents shady people claiming that Jodie Foster is attached to their film, when she’s not. They also ask questions about who has put together your proposal and their level of experience in the business. Then, based on all the information available, they assign you a risk rating in terms of investment potential and you are tasked with building a network, including investors, as you improve your project’s prospects with new attachments and more capital raised.

Upside – Slated is a reputable site where qualified investors and filmmakers intersect. Both parties WANT to be there, unlike those Kickstarter and IndieGogo posts which can become tiresome in your feed. Also, as investors, these people will be rewarded if the movie is a success and can open up not just wallets, but doors, if they choose. All the benefits of the private equity investor apply here as Slated investors often fit that mold – you are just reaching them in an innovative way.

Downside – You don’t personally pick and choose every single person that has access to your ideas and pre-production details. Filmmakers can be guarded about the concept of a film or potential key art. When you are raising money through private investors, it’s always YOUR CHOICE whether you get a good vibe to pitch to any one individual and want to show them your one-sheet or share your data and materials. With Slated, investors have more liberty to view your materials, which might influence their own projects.

4. Find a Studio or production company to back you – Maybe a senior VP will fall in love with your project and the rest is history (it happens!).

Upside – You don’t have to raise the money to pay for it. You may get additional resources and more experienced hands on deck to help complete your film.

Downside – You also may get pressure to step aside in favor of a more experienced director who’s made a film for studios before. There’s also the problem of limited access. A lot of filmmakers would love a studio to back their film, but a lot fewer have the access and connections to make that happen. Even if you get your foot in the door, you may have to make artistic compromises that dilute your vision and don’t serve your long-term career goals. It can take years and years to get the fabled “green light” to move a project forward so patience is needed. You also will likely not share in as many of the profits if your project turns into a studio project (although you will likely be paid more upfront).

5. Grants – This is money given by organizations to artists and filmmakers who embody their taste and values.

My favorite grant program so far is Creative Capital. I’ve attended their application information session and they seem legit.

Upside – The money is free – sort of (your project will have to adhere to the grant’s mission in some way or another). Also, the process of winning a grant includes networking with some very smart people that may help your project in all sorts of other ways.

Downside – Getting a grant is a labor-intensive process that can take a long time. Also, even if you are successful in winning a grant, it might not be enough to complete your whole project. It is more difficult to win a grant for a project that is for-profit than non-profit. Documentarians raising funds for a not-for-profit film probably have a much better chance here than narrative feature filmmakers, in my opinion.

6. Loans – I have personally never worked on a project where bank loans or loans from institutions were used to finance a film (maybe there was a time when I borrowed ten bucks from my cousin for lemonade for our crew but that’s another story….). However, from my limited understanding, loans are the best option if you’ve almost completed a film that needs a little more capital to reach the marketplace and that film has a demonstrable value. I don’t think independent filmmakers can get a loan to make a movie from scratch but maybe some project out there will prove me wrong.

Upside – Hey, you have money that you need to finish your film. And if the film is incredibly successful, you are only obligated to pay back the loan with interest, not a percentage of the film in perpetuity.

Downside – Investors may be resentful if your loan arrangement requires that the loan is paid back before the investors start being repaid. Specific deals with investors may prevent such an arrangement.

7. Pre-Sales – Truthfully, this is not an area of independent film with which I’m terribly familiar. We did receive one offer for a pre-sales for one territory for “Guys Reading Poems” about five weeks before we went into production, but our producer thought the amount was too low and we declined the offer.

Upside – You are getting money in advance of the film being made where you might get none at all. If the movie comes out, there is no guarantee anyone will buy it.

Downside – Our situation is not unique. The people buying your film upfront will want to pay less if they are giving you money before the film is complete because there is a lot more risk for them. What if the film turns out differently than what they were expecting? That could mean gaining in the short term but losing in the long term.

8. Self-finance – It goes without saying that if you have enough cash in the bank, you can finance your own film. Technically, this is actually an outgrowth of option one. It’s just that now, you are your own private equity investor.

Upside – The upside of this arrangement is that if you have the money in the bank, it’s easy to get the capital and you have control of it.

Downside – It seemed like a good idea until you have no more money to live and pay rent. Also, if you’re not careful, using your own money can get messy. An attitude of “it’s my money and I’ll spend it how I want” might lead to sloppy record-keeping (there’s no motivation to keep great books like an outside investor that forces you to justify costs). You as a private equity investor deserve that same clarity and spending control just as if it were another investor’s money. This can often put you-as-investor in conflict with you-as-filmmaker, a weird psychic conflict. Plus, you still have obligations to keep track of what is spent and earned for taxes, etc., even if you’re the only investor.

Some filmmakers may be in that frame of mind where they say, “Screw this!” and decide to charge the entire film to their credit card or multiple credit cards. I can say – with some inside scoop – that some quality directors made their first film that way and succeeded. So I do not judge anyone who decides on that path. However, I do think that you owe it to yourself to try some of these other methods of fundraising for at least six months to a year before you take the plastic plunge, as unsecured debt is almost universally despised as a terrible move financially.

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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).

Several years ago, I started this blog to chronicle the progress of “Inside-Out, Outside-In.” I was determined to direct my first feature film and wanted to share the ups and downs of the journey with like-minded creative types. Well, a funny thing happened on the way to the set….

One-sheet – “Guys Reading Poems”designed by Chris Friend

Turns out, I achieved my dream to direct my first feature film. Only, to my great surprise, that film turned out to be a completely different project than “Inside-Out, Outside-In.” “Guys Reading Poems” – a neo-noir, black-and-white feature – consumed my time and energy to the point that I wasn’t able to continue to blog here. However, now that the film is safely into post-production, I am returning to my original mission to get “Inside-Out, Outside-In” off the ground. But now the conversation is a little different. Instead of how to get a first feature film off the ground, I’m dealing with the (ever-so-slightly) better problem of how to get a second feature funded and produced. (ok so yeah, I’m bragging a little….I can’t help it.)

Let me explain.

In the beginning of 2013, I was taking meetings and pitching “Inside-Out, Outside-In” but having great difficulty raising the kind of capital needed to fund a story that takes place in both modern day Los Angeles and ancient India. I came up with an idea – almost on a whim – to combine classic poetry with an all-male secret society narrative and shot some footage relatively cheaply. The results were so good that many trusted friends and advisors suggested I continue developing “Guys Reading Poems” as a feature film. And so I did. Relatively quickly, private equity investors rallied around “Guys Reading Poems” and we were also able to crowdfund more than $40,000 to raise enough money to transform the original project into a feature. Casting also fell into place relatively quickly (actors love black-and-white, apparently, especially when the cinematographer is someone as talented as ours – Michael Marius Pessah). Patricia Velasquez (“The Mummy”, “Arrested Development”) agreed to play the female lead role and Alexander Dreymon (“American Horror Story”) – a former acting student of mine – signed on to play the male lead. Lydia Hearst (“The Face”) also liked the script and agreed to play a key supporting role and so did Rex Lee (“Entourage”) and Christos Vasilopoulos (“Banshee”). The rest of the cast was populated with talented up-and-comers Jerod Meagher (“ABCs of Death 2”), Jason Fracaro and Vincent Montuel (all of whom also took my acting class at StoryAtlas) and also Blake Sheldon (“Age of Reason”), Justin Schwan (“Cutback”), Daniel Berilla (“Kissing Darkness”), Megan Sousa and Gopal Divan. Of the entire cast, only Blake and Lydia were brand new to my life. The rest were either friends or colleagues from previous encounters on projects or in acting classes. In the case of Rex, well, he’s one of my very best friends in the world.

What can I say? I got lucky…but in a way that I could not have predicted.

Looking back, I can’t help but wonder if there was some divine guidance that brought “Guys Reading Poems” up to bat first. Like I mentioned, the budgetary requirements are less than those required for “Inside-Out, Outside-In.” There’s a great tradition of directors starting their careers in black-and-white and the neo-noir feel needed for “Guys Reading Poems” allows me to knock on the door of that club. “Guys Reading Poems” is more daring in terms of its form, whereas “Inside-Out, Outside-In” is a much more traditional narrative. There’s nothing wrong with traditional narratives (in fact, I love them) but one could argue that a more experimental approach is more likely to convince festival programmers and audiences to give a first-time director a chance. Also, since 90% of the cast were personal friends or longstanding colleagues, there was enough trust on both sides to build the type performances I admire – where the dark side of the psyche and its vulnerabilities combine with human need towards a quixotic goal or dream. As a first time director, I needed personal access to the hearts and minds of the talent and “Guys Reading Poems” offered that sort of opportunity. Along the way, I developed relationships that are crucial for my future success not only with acting talent but also investors, fellow producers, department heads, creative collaborators and crew (and yes, Shpetim Zero did the costumes for “Guys Reading Poems” as well, see below).

But now, it’s time to finish what I started with “Inside-Out, Outside-In” so you’ll be hearing from me a lot more! Over the next few weeks, I’ll try to condense some of the lessons of “Guys Reading Poems” and how I feel they might set up “Inside-Out, Outside-In” for success. Then, I’ll move into chronicling the next stages of the project.

I planned for “Inside-Out, Outside-In” to take two years to finish and start hitting the festival circuit relatively soon. Sometimes, plans don’t work out…yet, somehow, strangely, even mysteriously, dreams do.

Jason Fracaro in “Guys Reading Poems”photo by Michael Marius Pessah

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Hunter Lee Hughes is a filmmaker and actor living and working in Los Angeles and the founder of Fatelink. His current feature film Guys Reading Poems is touring film festivals and this blog is dedicated to the process of making his second feature film, “Inside-Out, Outside-In.” If you enjoy the blog, please support our team by following us on Facebook, Twitter (@Fatelink) or Instagram (@Fatelink).